It's quite nice. Not sure what I think about the repetition of "His love" at the end of the piece, and I certainly wouldn't add the high E at the end. Perhaps an optional Baritone B could be added above that optional low E.

Love this. Could be used in my parish as an introit, offertory, or communion motet. I have already printed copies for our rehearsal tomorrow evening. Thanks!

May I suggest another way of treating the text in measure 11?

Connect the S/A notes on beats 1 & 2 ("love"), and
Connect the S/A notes on beats 3 & 4 ("his").
The T/B entrance on beat 4 is unchanged.

The idea is to let the piece convey more calm there, and avoid an overly "talky" impression.

Very nice. I like the word setting and you've done a good job with keeping the inner parts moving. The building up on "merciful love" at mm. 8-10 also works well. I think the repetition of "merciful love" at m. 10 should be kept as written.

However, I find the tenor and basses being cut off in mid-sentence at the end of m. 10 to be awkward ("His . . . "). Perhaps the basses could "resolve" down to a G# and the tenors stay of B with a quarter note on the first beat of m. 11 on the word "love"? In which case the alto note should be changed to E to supply the root of the chord.

There are also some voice-leading issues in mm. 8-10 (as the piece seems to follow common practice):
(1) parallel octaves between alto and bass (last beat of m. 8 to first beat of m. 9)
(2) parallel fifths between soprano and bass (beats 2 and 3 in m. 9)
(3) parallel octaves between alto and bass (last beat of m. 9 into m. 10) and
(4) parallel octaves between soprano and tenor (m. 10, beats 2-3).

The first could be corrected by changing the bass note in the last beat of m. 8 from B to G#. The subsequent motion to the A would also counteract the downward motion in all the other parts.

To avoid the second, the bass note on the second beat of m. 9 could be changed to a C#, making the bass line more interesting and again having the bass and upper voices moving in contrary instead of parallel motion.

For (3), the last note of m. 9 in the alto part could be changed to a D# to avoid the parallels octaves with the bass.

To avoid (4), the tenor note in the third beat of m. 10 could be changed to an E. This would make a rich chord on the word "love" and also set up a expressive leap in the tenor line - a major sixth to the C# which would come down to a B if you liked my idea of adding the word "love" to the tenor and bass parts at this point.

Rich's first solution creates an awkward situation with the voice-leading in the tenor - it makes more sense for the alto to simply resolve to C# into m. 9 before continuing as written.

Updated score and recording! Enjoy!